GALLERIES/Stuart Lochhead Sculpture
PROVENANCE:Sale, Paris, Palais Galliera, 9 December 1960, lot 24, where acquired by
Private collection, USA.
G. Martin-Méry, ‘Musée des Beaux-Arts de Bordeaux, III. Oeuvres du XIXème siècle’, in La Revue du Louvre, 6, Paris 1972, p. 507
A.M. Wagner, Jean-Baptiste Carpeaux: sculptor of the Second Empire, Yale, 1986
J.P. Munk, Catalogue: French Sculpture 1, Ny Carlsberg Glyptotek, Copenhagen 1993, p. 142, no 88 (a plaster version ill. p.143)
E. Helbronner, Catalogue raisonné des sculptures du XIXème siècle (1800-1914) du Musée de Bordeaux, doctoral thesis (Paris IVSorbonne), 2003, pp. 319-320
Musée des Beaux-Arts de Bordeaux: guide des collections XVIe-XXe siècle, Bordeaux 2010, p. 128 (another marble version ill.)
M. Poletti and A. Richarme, Jean-Baptiste Carpeaux sculpteur, catalogue raisonné de l’oeuvre édité, Paris, 2010, p. 107 (a bronze version ill.)
J.D. Draper and F. Papet, The passions of Jean-Baptiste Carpeaux, exh. cat., Metropolitan Museum of Art, New York 2014, p. 133 and pp. 144-155
J.G. Lovett, A Romance with Realism: the art of Jean-Baptiste Carpeaux, exh. cat., Sterling and Francine Clark Art Institute,
Williamstown 1989, p. 26 (a terracotta version ill.)
FURTHER INFORMATION:Jean-Baptiste Carpeaux was, without doubt, one of the greatest contributors to the development of European sculpture in the nineteenth-century. With a career spanning across France, Italy and England, Carpeaux's international outreach began with the prestigious award of the Grand Prix de Rome in 1854. Still a student, his technical skills, mingled with his innovative approach to set academic themes, opened the path to modern sculpture, influencing the work of other great late-Romantic artists including Auguste Rodin.
The present sculpture, Laughing Girl (also known as the Bacchante with Roses), testifies to Carpeaux's
technical prowess, and to his privileged relationship to marble, the artist's favourite medium. Rather than being the product of the atelier, the outstanding quality of the piece demonstrates the master's direct participation in the carving process. In addition, the marble suggestively summarises two defining aspects of Carpeaux's oeuvre, namely his work for public monuments, since it since it derives from the group of The Dance
on the facade of the Opera in Paris, and his skill as a portrait artist.